中国的哲学思想最主要的就是阴阳五行学说。
阴阳学说，两千多年来，在中国被广泛运用于社会生活，思想文化和科学技术诸多领域。阴阳学说，认为宇宙间任何事物都具有既对立又统一的阴阳两个方面，经常不断地运动和相互作用。这种运动和相互作用，是一切事物运动变化的根源。古人把这种不断运动变化，叫做“生化不息”。
我们日常自然而然的说：上下，左右，高低，远近，冷热，前后，黑白，明暗，水火，等等，显然就是被阴阳学说潜移默化的结果。
中国书法当然也深受阴阳学说的影响。书法上说：方圆，黑白，虚实，向背，粗细，浓淡，大小，刚柔，奇正，枯润，疏密，巧拙，等等，要求创作者能够处理好，这样就能达到阴阳互动，生生不息，千变万化，生动美妙的结果。以黑白为例，传统书法理论讲求计白当黑，黑处是字，白处也是字，这是阴阳相生，相反相成的表现。
阴阳学说，两千多年来，在中国被广泛运用于社会生活，思想文化和科学技术诸多领域。阴阳学说，认为宇宙间任何事物都具有既对立又统一的阴阳两个方面，经常不断地运动和相互作用。这种运动和相互作用，是一切事物运动变化的根源。古人把这种不断运动变化，叫做“生化不息”。
我们日常自然而然的说：上下，左右，高低，远近，冷热，前后，黑白，明暗，水火，等等，显然就是被阴阳学说潜移默化的结果。
中国书法当然也深受阴阳学说的影响。书法上说：方圆，黑白，虚实，向背，粗细，浓淡，大小，刚柔，奇正，枯润，疏密，巧拙，等等，要求创作者能够处理好，这样就能达到阴阳互动，生生不息，千变万化，生动美妙的结果。以黑白为例，传统书法理论讲求计白当黑，黑处是字，白处也是字，这是阴阳相生，相反相成的表现。
说到疏密，认为疏处可走马，密处不使透风。
这就是中国人阴阳学中的审美基本观。
The concept of Yin and Yang is central to ancient Chinese astrology, traditional Chinese medicine, and ancient Chinese philosophy. Its influence permeates almost everywhere in the oriental culture.
Ancient Chinese believe that the nether world of ghosts and souls exists along with the secular world of human beings. The former is referred to as the yin world, while the latter is referred to as the yang world. From the concept of the two worlds, it is easy to understand why the yin is often associated with evil and darkness and the yang always represents justice and brightness.
The most known Daoist philosopher of China, Laozi, said once regarding unity and inseparability of Yin and Yang:
"When everyone sees beauty as being beautiful, there is already ugliness. When everyone thinks of the good as being good, there is already evil. Being and not being created themselves mutually. The heavy and the light realize themselves mutually. Before and afterwards precede each other mutually”.
这就是中国人阴阳学中的审美基本观。
The concept of Yin and Yang is central to ancient Chinese astrology, traditional Chinese medicine, and ancient Chinese philosophy. Its influence permeates almost everywhere in the oriental culture.
Ancient Chinese believe that the nether world of ghosts and souls exists along with the secular world of human beings. The former is referred to as the yin world, while the latter is referred to as the yang world. From the concept of the two worlds, it is easy to understand why the yin is often associated with evil and darkness and the yang always represents justice and brightness.
The most known Daoist philosopher of China, Laozi, said once regarding unity and inseparability of Yin and Yang:
"When everyone sees beauty as being beautiful, there is already ugliness. When everyone thinks of the good as being good, there is already evil. Being and not being created themselves mutually. The heavy and the light realize themselves mutually. Before and afterwards precede each other mutually”.
The notion of dynamic balance lies at the core of the aesthetics of Chinese calligraphy, holding the key to a genuine appreciation of this art. The dynamic balance and harmony of brushwork can be understood in terms of the relationship between yin and yang, or between their conceptual derivatives of “empty” (xu 虚) and “full’ (shi 实).
For example, the dynamic balance between the brushwork and empty space within or between individual characters in a text can be interpreted as embodying the complementary, harmonious relationship between emptiness and fullness, or, non-being and being. Therefore the black-white (黑白) contrast of the calligraphic line with its dynamic movement is considered to have more aesthetic appeal than colours, which are not only considered static but also carried somewhat of a unrefined (su 俗) connotation.
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